a special attorney. A special attorney was merely an attorney who practised in one court only. The species is now said to be extinct. burn ye. The annotator of the second edition, apologizing for this ‘forced’ rhyme to ‘attorney,’ informs the English reader that the phrase of ‘burn ye’ is ‘a familiar method of salutation in Ireland amongst the lower classes of the people.’ Here Reynolds is laid. This shares the palm with the admirable epitaphs on Garrick and Burke. But Goldsmith loved Reynolds, and there are no satiric strokes in the picture. If we are to believe Malone (Reynolds’s _Works_, second edition, 1801, i. xc), ‘these were the last lines the author wrote.’ bland. Malone (_ut supra_, lxxxix) notes this word as ‘eminently happy, and characteristick of his [Reynolds’s] easy and placid manners.’ Boswell (Dedication of _Life of Johnson_) refers to his ‘equal and placid temper.’ Cf. also Dean Barnard’s verses (Northcote’s _Life of Reynolds_, 2nd ed., 1819, i. 220), and Mrs. Piozzi’s lines in her _Autobiography_, 2nd ed., 1861, ii. 175–6. He shifted his trumpet. While studying Raphael in the Vatican in 1751, Reynolds caught so severe a cold ‘as to occasion a deafness which obliged him to use an ear-trumpet for the remainder of his life.’ (Taylor and Leslie’s _Reynolds_, 1865, i. 50.) This instrument figures in a portrait of himself which he painted for Thrale about 1775. See also Zoffany’s picture of the ‘Academicians gathered about the model in the Life School at Somerset House,’ 1772, where he is shown employing it to catch the conversation of Wilton and Chambers. and only took snuff. Sir Joshua was a great snuff-taker. His snuff-box, described in the Catalogue as the one ‘immortalized in Goldsmith’s _Retaliation_,’ was exhibited, with his spectacles and other personal relics, at the Grosvenor Gallery in 1883–4. In the early editions this epitaph breaks off abruptly at the word ‘snuff.’ But Malone says that half a line more had been written. Prior gives this half line as ‘By flattery unspoiled—,’ and affirms that among several erasures in the manuscript sketch devoted to Reynolds it ‘remained unaltered.’ (_Life_, 1837, ii. 499.) See notes to ll. 53, 56, and 91 of _The Haunch of Venison_.